Este trabalho é o resultado da minha pesquisa desen-volvida sobre a gravura de reprodução da Escola de Xilografia do Horto e seus desdobramentos. Focada em um processo criativo pessoal, apresento uma série de gravuras realizadas na madeira umburana e em metal, utili-zando ferramentas como o buril e goivas. Também faz parte desta pesqui-sa um CD com imagens fotográficas de todas as matrizes pertencentes ao acervo do Museu Florestal Octávio Vecchi. / This work is the result of my research developed on the reproduction engraving of the School Horto florestal of Woodcut-ting and its deployments. Introducing a series of prints made in umbura-na wood and metal using tools like the chisel and gouge, focused on a personal creative process. This research also contains a CD recorded with images of all matrices belonging to the Forest Museum Octavio Vecchi.

Este trabalho é o resultado da minha pesquisa desen-volvida sobre a gravura de reprodução da Escola de Xilografia do Horto e seus desdobramentos. Focada em um processo criativo pessoal, apresento uma série de gravuras realizadas na madeira umburana e em metal, utili-zando ferramentas como o buril e goivas. Também faz parte desta pesqui-sa um CD com imagens fotográficas de todas as matrizes pertencentes ao acervo do Museu Florestal Octávio Vecchi. / This work is the result of my research developed on the reproduction engraving of the School Horto florestal of Woodcut-ting and its deployments. Introducing a series of prints made in umbura-na wood and metal using tools like the chisel and gouge, focused on a personal creative process. This research also contains a CD recorded with images of all matrices belonging to the Forest Museum Octavio Vecchi.

Dans le cadre de cette étude, deux catalogues ont été établis : le premier dresse une liste critique et mise à jour des éditions attribuées à Antoine Vérard ; le second répertorie toutes les gravures figurant dans ces dernières, ainsi que leurs occurrences. Cette double recension a permis de mettre en évidence le travail de treize dessinateurs, dont le Maître de Robert Gaguin et, peut-être, le Maître de la Chroniques scandaleuse. Vérard, qui était vraisemblablement déjà libraire avant de se lancer dans l'édition, se serait surtout inspiré de l'œuvre des imprimeurs-libraires parisiens, lyonnais et strasbourgeois plutôt que des manuscrits. La façon dont il fit usage des gravures évolue au cours du temps. Cette évolution est probablement l'expression d'une mutation des attentes des lecteurs, toujours plus nombreux et possédant des bibliothèques de plus en plus fournies aux XVe et XVIe siècle. Le génie de notre libraire fut de s'adresser concurremment à toutes les catégories sociales de lecteurs, quelle que soit leur richesse (en particulier grâce à la personnalisation des exemplaires). Il contribua donc largement à la diffusion de l'art parisien du livre illustré. / For the purpose of my study, two catalogues were put together. The first one is a critical list of the editions attributed to Vérard (updating those of John Macfarlane and Mary Beth Winn). The second one is a list of all the cuts used in those editions with their occurrences. My analysis shows that these cuts were based on drawings of at least 13 artists. The Master of Robert Gaguin and, perhaps, the Master of the Chroniques scandaleuse were among them. Vérard probably sold books some time before he started publishing. The study shows that his use of woodcuts was inspired by bookseller-publishers from Paris, Lyons and Strasburg instead of following the manuscripts. The way Vérard used the cuts changed during his career. It could indicate an evolution in the way people read illustrations. Indeed, during the XVth and XVIth centuries, the number of book owners was continuously increasing, and so was the amount of books possessed by each of them. Vérard was probably one of the very few publishers able to produce books for every kind of reader (merchants, nobility, clergy, scholars, women), regardless of their wealth (thanks to the customisation of the copies). That is why we can say that he contributed greatly to the growing popularity of the Parisian art of illustrated books.

The Prodigal Daughter (1736) is a poem that, on the surface, appears to be an approachable text that was likely geared towards a children’s audience during New England’s first Great Awakening, within the approachable format of a chapbook. However, when explored further, The Prodigal Daughter reveals a complicated textual history during a time of theological and social revival in New England. This thesis considers the historical context of The Prodigal Daughter’s narrative, as well as the poem’s publication history. The text’s transmission is carefully examined and encapsulated in this edition—giving the reader a transcription that is the result of collating twenty-eight surviving witnesses of The Prodigal Daughter. This thesis serves as a critical edition of The Prodigal Daughter, with an introduction which includes a careful consideration of gendered theology, homiletics, the literary marketplace, and the role of the devil in the female conversion narrative during New England’s first Great Awakening.

Otto Pankoks (1893 - 1966) Kunstwerke können Heranwachsende in ihrer Erfahrungswelt noch immer ansprechen, da mit ihnen Bildwerke vorliegen, die in besonderer Weise Auskunft geben über die Geschichte Gottes mit den Menschen. Christliche Themen wie ″der wahre Mensch″, ″Liebe″, ″Leid″, ″das Böse″, ″Schuld″ und ″Sünde″ werden darin künstlerisch bearbeitet. Besonders seine Kohlebilder spiegeln persönliches Empfinden und christliches Weltbild in besonderer Authentizität. Sie sind aufgeladen mit zeitgeschichtlichem Erleben und dem Suchen nach verstehbaren Antworten. In ihnen lassen sich fünf Motivgruppen mit eindeutiger exegetischer und religionsdidaktischer Relevanz erkennen. Anhand 13 exemplarisch ausgewählter Bildbeispiele wird gezeigt, wie mit Otto Pankoks Bildwerken im Religionsunterricht kompetenzorientiert gearbeitet werden kann.

Otto Pankoks (1893 - 1966) Kunstwerke können Heranwachsende in ihrer Erfahrungswelt noch immer ansprechen, da mit ihnen Bildwerke vorliegen, die in besonderer Weise Auskunft geben über die Geschichte Gottes mit den Menschen. Christliche Themen wie ″der wahre Mensch″, ″Liebe″, ″Leid″, ″das Böse″, ″Schuld″ und ″Sünde″ werden darin künstlerisch bearbeitet. Besonders seine Kohlebilder spiegeln persönliches Empfinden und christliches Weltbild in besonderer Authentizität. Sie sind aufgeladen mit zeitgeschichtlichem Erleben und dem Suchen nach verstehbaren Antworten. In ihnen lassen sich fünf Motivgruppen mit eindeutiger exegetischer und religionsdidaktischer Relevanz erkennen. Anhand 13 exemplarisch ausgewählter Bildbeispiele wird gezeigt, wie mit Otto Pankoks Bildwerken im Religionsunterricht kompetenzorientiert gearbeitet werden kann.

This thesis examines the transmission and reception of images in Le Roman de la rose manuscripts and printed editions of the late fifteenth and early sixteenth centuries. Through in-depth case studies, I analyse how illustrators, editors, and readers used printed imagery in Rose books ca. 1481-1538, during the period of Rose printed edition production, exploring wider cross-disciplinary issues concerning the history of the book, the relationship between word and image, and readership practices following the advent of French printing. I argue that the mobility of printed imagery, which was facilitated in part by the wider dissemination of woodcuts in workshops, influenced the form and function of images in books. In addition, I problematize the 'transition' from manuscript to print in the later Middle Ages, through an investigation of artisans' personal and professional collaborations and evidence of image sharing between hand-illustrated and printed books. Bookmakers and readers used printed imagery in fascinating ways in books, appropriating and modifying woodcuts in order to engage with certain subjects and motifs. Readers' visual responses to books are under-examined, and I assess how readers' drawings add insight into their understanding of printed editions and those editions' visual iconography. French books contain a large body of evidence pertaining to image production and reception, but printed imagery is often overlooked, despite its potential to shed light on the practices of illustrators, editors, and readers. I provide new strategies for examining patterns of printed image production, circulation, and reception in the visual presentations of manuscripts and printed editions of this period. I also deepen understanding of the Rose and its consumption in the later Middle Ages and Renaissance, probing the role of images in books.

Darstellungen der Planeten und ihrer Kinder gehörten zu den ersten paganen Bildern, die im Spätmittelalter produziert und rezipiert wurden. Während der rund 200 Jahre ihres hauptsächlichen Auftretens, bis zum Ende des 16. Jahrhunderts, erreichten sie eine enorme Popularität. Im Weltbild des Mittelalters und der frühen Neuzeit war jeder Mensch von dem Gestirn geprägt, unter dessen Einfluss er geboren wurde. Dieser Planet bestimmte, wie man körperlich und charakterlich beschaffen war, welchen Beruf man ausübte und welche gesellschaftliche Stellung man erwarten durfte. Der Geburtsmoment sorgte für eine lebenslange, familiäre Verbindung zum Gestirn, man wurde quasi zu dessen Kind. Die Macht der Sterne zeichnet die Entwicklung von der ersten Erwähnung der Planetenkinder in Schriftquellen, über die Herausbildung eines relativ stabilen ikonografischen Kanons in verschiedenen Medien, funktionsgebundene Variationen bis zum Aufgehen in anderen Bildgattungen nach. Die zumeist siebenteiligen Zyklen stellen sich als Teil eines weit ausgebauten Beziehungsgefüges und Verweissystems dar, in dem sich das jeweilige gesellschaftliche Bild der Zeit spiegelt. Die Darstellungen dokumentieren zudem zentrale Entwicklungen des individuellen Denkens bis zum Ende des 16. Jahrhunderts. Sie zeigen, wie das jeweils aktuelle kosmologische Verständnis und Wissen einem breiten Publikum durch Bilder vermittelt werden konnte, wie dies mit dem religiösen Leben vereinbar war oder sich im Alltag niederschlug. Planetenkinder-Darstellungen hatten im Verlauf ihrer Geschichte vielfältige Funktionen. In ihnen manifestierte sich die Vorstellung einer Einheit der Dinge in zahlreichen Analogien. Gezielt eingesetzt wurden die Bilder zur Markierung sozialer Aufstiege, politischer Interessen und der Reklamation von Machtansprüchen sowie der Repräsentation von Einfluss bzw. Verherrlichung von Auftraggebern. Die Bilder zeigen philosophische Diskurse auf, verweisen auf konkrete historische Ereignisse und bewerten diese. / Representations of the planets and their children were among the first pagan images to be produced and adopted in the late Middle Ages. During the circa 200 years in which they mainly appeared, up until the end of the sixteenth century, they became enormously popular. In the worldview of the Middle Ages and early modern era, every person was believed to be influenced by the celestial body under whose influence they were born. This planet determined one’s physical appearance and character, one’s profession, and the social standing one could expect. The moment of birth ensured the continuation of a life-long, familiar connection to this celestial body, and a person was effectively considered its “child”. Die Macht der Sterne traces these developments from the first written references to the children of the planets, through to the emergence of a relatively stable iconographical canon in various media, variations in terms of function, as well as their appearance in other pictorial genres. These cycles, usually consisting of seven parts, presented themselves as part of a highly elaborate relational structure and system of references which reflected the current social worldview. The images also document key developments in individual thought up until the end of the sixteenth century. They show how the prevailing understanding of the cosmos and knowledge could be communicated to a wide audience by means of imagery, how this was reconciled with religious life, and how it was reflected in everyday life. Over the course of their history, images of the children of the planets served a variety of functions. By means of a number of analogies they illustrated the notion of the unity of all things. These images were also consciously employed to underscore social advancement, political interests, and the reassertion of claims to power as well as representations of influence or the glorification of patrons. These depictions also highlight philosophical discourses and refer to concrete historical events while offering evaluations of these phenomena.

When Martin Luther supposedly nailed his Ninety-Five Theses in 1517 to the Castle Church door in Wittenberg, the small town had only a single printing press. By the end of the century, Wittenberg had published more books than any other city in the Holy Roman Empire. Of the leading print centres in early modern Europe, Wittenberg was the only one that was not a major centre of trade, politics, or culture. This thesis examines the rise of the Wittenberg printing industry and analyses how it overtook the Empire's leading print centres. Luther's controversy—and the publications it produced—attracted printers to Wittenberg who would publish tract after tract. In only a few years, Luther became the most published author since the invention of the printing press. This thesis investigates the workshops of the four leading printers in Wittenberg during Luther's lifetime: Nickel Schirlentz, Josef Klug, Hans Lufft, and Georg Rhau. Together, these printers conquered the German print world. They were helped with the assistance of the famous Renaissance artist, Lucas Cranach the Elder, who lived in Wittenberg as court painter to the Elector of Saxony. His woodcut title page borders decorated the covers of Luther's books and were copied throughout the Empire. Capitalising off the demand for Wittenberg books, many printers falsely printed that their books were from Wittenberg. Such fraud played a major role in the Reformation book trade, as printers in every major print centre made counterfeits of Wittenberg books. However, Reformation pamphlets were not the sole reason for Wittenberg's success. Such items played only a marginal role in the local industry. It was the great Luther Bibles, spurred by Luther's emphasis on Bible reading, that allowed Wittenberg's printers to overcome the odds and become the largest print centre in early modern Germany.